Magnum Force (1973) - Review

Rewatched 21 Dec 2023 - Originally written on Letterboxd

This review may contain spoilers.

Magnum Force needs to be reappraised as one of the better sequels in cinema.
Like ‘Dirty Harry’, it doesn’t have the mainstream audience exposure/deference it should.

To follow up the iconic 'Dirty Harry' in a way that doesn’t just pit Harry against another psycho, which many sequels would’ve by just rehashing the original, but instead, ask a question.

What if there was something more extreme than Dirty Harry in a police force?

Many have compared the character and plot of Dirty Harry to Batman in ‘The Dark Knight’, but ‘Magnum Force’ investigates the concept of escalation more clearly.
In ‘The Dark Knight’, the fact Batman exists leads to the Joker being mythically spawned in Gotham. Here ‘Magnum Force’ shows what happens in a police force where Harry’s attitude and actions inspire a more extreme variant, true vigilantism, where even when criminals are going about their day are murdered and even investigating police officers who are witness to this are slain without remorse.

As Harry describes, "...there may be a sub-organization within the police force. Sort of a death squad like they had in Brazil some years back."

“I’m afraid you’ve misjudged me”

It's a fascinating way to express to the audience that Harry has a line and isn't just looking through a phone book to pick his next victim, like Hal Holbrook's Lieutenant Briggs’ death squad seems to be doing. Harry is human, even though he has an almost single-minded life, solely focused on his detective work. The film feels in conversation with the initial criticism that ‘Dirty Harry’ was a fascistic ideal, ‘Magnum Force’ directly addresses this, almost as if the writer, known gun-toter, John Milius, wanted anyone who considered Harry Callahan as a prototype Judge Dredd; judge, jury, executioner as someone more like the lawmen in Westerns, like Gary Cooper’s Marshal Will Kane in ‘High Noon’.

Whilst the film doesn't reach the stylistic integrity and bravura of the original, ‘Magnum Force’ has so many great moments, lines and performances that upon a rewatch make you appreciate its artistic and entertainment value nonetheless. As the Dirty Harry series developed with three more sequels, the artistic sincerity gets diluted with each part and almost becomes a parody of itself at times, but ‘Magnum Force’ stands on its own merit and reflects not just the culture of America at the time but of its own mythology.

NCIS: HAWAII - Season 2 Promo

Promo for Paramount/5USA, driving interest for the final seven episodes of the second season, airing through July/August/September 2025.

My approach was to ensure that the briefed aspects were met, showcasing some of Hawaii's beautiful locations, the team dynamics, the action and suspense, while bringing a cinematic feeling to the show.

The use of music helped build a suspenseful start to the promo, with a nod to some local instruments.
As the action begins, we transition to a Zimmer-esque driving track that ramps up the tension to the end.

A potent piece of dialogue from Ernie Malik (played by the great Jason Antoon - remember him from the brilliant Cyber Parlour scene in Minority Report?!), served as a strong way to frame the action sequences and provide some mystery to the storylines of these final episodes.

“Skullduggery. Chicanery. Deception. Spycraft, my friends. We’re through the looking glass.”

The 20 second edit, focuses on the final action section of the 40 second cut.

Star Wars x Top Gun: Maverick

If you haven’t noticed already (or missed the hundreds of mentions online about it),
Top Gun: Maverick takes on some elements similar to Star Wars (Episode IV). 

The canyon mission, especially, mirrors much of the trench run from Star Wars, in addition to talking to ghosts of the past, learning to feel, not think, and the hero’s journey are themes shared across the two films.

Dirty Harry x The Dark Knight

Because he’s the hero Gotham deserves, but not the one it needs right now.

So we’ll hunt him. Because he can take it. Because he’s not our hero. 



He’s a silent guardian, a watchful protector.

A Dark Knight
— Commissioner Gordon

I’m not the first to compare Christopher Nolan’s The Dark Knight (2008) with Don Siegel’s Dirty Harry (1971), but I thought the world needed an edit to put it to the test.

Obviously, they are not identical films, with The Dark Knight having many more characters and plot lines threading throughout, in addition to some of the best action sequences ever filmed. Dirty Harry is more down to earth, in that respect, but this doesn’t take away from some of those core similarities, in addition to specific scenes or shots that are remarkably similar. Whether by design or by accident, there are clear parallels with these two films. 

We all know Nolan has mentioned Mann’s HEAT (1995) as a distinct influence on The Dark Knight, that is felt in the tonal execution, the cinematography, and of course the opening bank heist by The Joker, (and William Fichtner). I can also see how Nolan took the idea of sharing a film between two leads and how De Niro’s Neil McCauley and Pacino’s Vincent Hannah get ported over to Ledger’s Joker and Bale’s Batman (or even Eckhart’s Dent). 

Coming back to Dirty Harry,  the themes of police corruption, morality, vigilantism, escalation and a psychopathic antagonist terrorising a city are shared between the two. 

Escalation is a theme that continues more deeply into Dirty Harry’s sequel, Magnum Force (1973), where a rogue police unit, seemingly inspired by Harry Callahan’s perceived approach to take the law into his own hands, decide to gun down any criminal (or cop) who’s inconvenient to their world view. Escalation is mentioned by Gary Oldman’s Lieutenant Gordon at the end of Batman Begins (2005), the fact that Batman exists almost gives birth to the Joker, much like how Scorpio is a reflection of Dirty Harry’s existence. 

It was so fun to edit two of my favourites, and each discovery of a parallel or similarity just made me love them more. So many shots couldn’t squeeze into 68 seconds, so I’ll upload some ‘deleted scenes’ as GIFs to my site.

You either die a hero or you live long enough to see yourself become the villain.
— Harvey Dent

Extra Scenes

Anora (2024) - Vibes

Sean Baker has spoken about some of his influences that went into the melting pot that became the Academy Award-winning Anora. I immediately felt the unbridled kinetic chaos of the Safdie’s Uncut Gems (2019), merged with the obvious plot similarities to Garry Marshall’s Pretty Woman (1990). I also felt that the middle section of Anora, with her capture by the Russians, had a pandemonium similar to the scene where Steve Buscemi and Peter Stormare’s hoods kidnap Jean Lundegaard in Joel and Ethan Coen’s Fargo (1996).

After watching Anora and doing my usual deep dive reading about it, post-watch, it was fascinating to hear Baker’s influences, from a range of incredible filmmakers. After watching those, and seeing some clear visual similarities, in addition to aspects of story, character and attitude, I wanted to create a short edit combining the influences Baker spoke of, in combination with ones I felt the film reflected, so more of a ‘vibe’ edit, than pure influences.

Set to The Weeknd’s The Morning, (taken from the club scene in Uncut Gems, where he performs the song live), the lyrics are a suitable conduit to Anora:

All that money, the money is the motive
All that money, the money is the motive
All that money, the money she be foldin'
Girl, put in work, girl, girl, put in work
Girl, put in work, girl, girl, put in work
Girl, put in work


Films featured:

Anora - Sean Baker (2024)
Nights of Cabiria - Federico Fellini (1957)
Le Mépris / Contempt - Jean-Luc Godard (1963)
The French Connection - William Friedkin (1971)
Vampiros Lesbos - Jesús Franco (1971)

Pretty Woman - Garry Marshall (1990)
Uncut Gems - Josh and Benny Safdie (2019)
Fargo - Joel and Ethan Coen (1996)